For 2,295 reviews, this critic has graded:
  • 52% higher than the average critic
  • 2% same as the average critic
  • 46% lower than the average critic
On average, this critic grades 0.9 points higher than other critics. (0-100 point scale)

Mick LaSalle's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Queen and Country
Lowest review score: 0 Gigli
Score distribution:
2,295 movie reviews
    • 92 Metascore
    • 50 Mick LaSalle
    Anderson almost brings off a picture worthy of his grandiose ambition.
    • 65 Metascore
    • 50 Mick LaSalle
    Strives for an airy, merry amorality, but it never quite achieves liftoff, though at times it comes close.
    • 52 Metascore
    • 50 Mick LaSalle
    Most of the bits and performances have a hard time making the transition from stage to screen.
    • 74 Metascore
    • 50 Mick LaSalle
    Somewhere in the translation from stage to screen, The History Boys has become an intelligent misfire. What's left is a literate but listless film.
    • 82 Metascore
    • 50 Mick LaSalle
    If we're going to be honest, we need to look inside and ask ourselves: Do we really want to see a listless movie about a woman whose dream is to move into a double-wide trailer?
    • 44 Metascore
    • 50 Mick LaSalle
    The movie itself is just a routine showcase, modest in its aspiration and effective within its limits, entertaining in the moment but, in the end, faintly silly. On the plus side, it's only 86 minutes long.
    • 41 Metascore
    • 50 Mick LaSalle
    An entertaining film for kids and young teens. It's also a product of the era in which we're living, and weird times make for weird movies.
    • 44 Metascore
    • 50 Mick LaSalle
    A perfect example of an Intelligent Bad Movie.
    • 81 Metascore
    • 50 Mick LaSalle
    Even as it stands, Fish Tank is a valuable movie, though it aspires to a social insight it doesn't attain and a psychological penetration it won't maintain.
    • 55 Metascore
    • 50 Mick LaSalle
    It's all pleasant but fairly unimportant, and then -- POW -- comes the great scene, almost out of nowhere.
    • 51 Metascore
    • 50 Mick LaSalle
    The movie is never much more than fluff. But, like director Donald Petrie's previous film, "Grumpy Old Men," it has an honest core that enables it to keep its balance. [29 Apr 1994]
    • San Francisco Chronicle
    • 36 Metascore
    • 50 Mick LaSalle
    A stupid movie -- but a deliriously stupid movie, which gives it a certain grandeur.
    • 57 Metascore
    • 50 Mick LaSalle
    Lacks, a story that makes it feel personal.
    • 68 Metascore
    • 50 Mick LaSalle
    Qualifies as a mild success. It's an easy picture to like, even if it's not exactly satisfying.
    • 50 Metascore
    • 50 Mick LaSalle
    That's a lot of talent and star power at play here, made all the more conspicuous in that they don't really get much to work with. Not only is the movie just so-so, but the parts themselves aren't much.
    • 42 Metascore
    • 50 Mick LaSalle
    Before it degenerates into a complete mess, it's an entertaining mess, and something about its willingness to please maintains the audience's goodwill throughout.
    • 36 Metascore
    • 50 Mick LaSalle
    Has the strengths and weaknesses of a one-man show.
    • 58 Metascore
    • 50 Mick LaSalle
    As a movie, Escape From Tomorrow is at best pretty good, but the way it was made makes it something unique, possibly memorable.
    • 46 Metascore
    • 50 Mick LaSalle
    It's mostly entertaining, and has some strong moments, but it lacks the special magic that a musical needs, that sense of its inhabiting a parallel universe where any wonderful thing can happen at any moment, including music suddenly arising from nowhere. [10 Apr 1992]
    • San Francisco Chronicle
    • 28 Metascore
    • 50 Mick LaSalle
    Had a chance to be not just OK, not just fluff, but something special, and it's a shame that the people making it either didn't realize it or didn't have the guts to take this movie where it wanted to go.
    • 77 Metascore
    • 50 Mick LaSalle
    Self-consciously bleak.
    • 31 Metascore
    • 50 Mick LaSalle
    Delpy and Scott are able to put it over. She's French and deep and mysterious. He's a fresh-faced American, an open book. Liking them makes it possible to (kinda) like this otherwise routine horror movie.
    • 82 Metascore
    • 50 Mick LaSalle
    Though the movie is riddled with memorable scenes of violence, its pace is slow -- too slow. It has an epic sprawl, but it's not an epic. It's more like a bloated fairy tale. [7 Aug 1992]
    • San Francisco Chronicle
    • 63 Metascore
    • 50 Mick LaSalle
    The result is a film of passion and ambition, but one whose success is intermittent at best.
    • 66 Metascore
    • 50 Mick LaSalle
    Even those who despised the original novel should not have trouble stomaching Bridges, while the novel's fans will find the film -- despite some additions -- generally true to what they perceive to be the book's spirit.
    • 73 Metascore
    • 50 Mick LaSalle
    Now, thanks to A Most Wanted Man, we discover that it's really boring - practically sleep-inducing - to be an international spy.
    • 79 Metascore
    • 50 Mick LaSalle
    As painstaking as a documentary but without the satisfaction of a documentary or the impact of a drama.
    • 37 Metascore
    • 50 Mick LaSalle
    If this action extravaganza represents the future of movies, it's going to be a sad, dead and awful future.
    • 65 Metascore
    • 50 Mick LaSalle
    The film is too intelligent and well-crafted to dismiss and too good to hate. Some people will love it, and at worst, most people will like it a little.
    • 51 Metascore
    • 50 Mick LaSalle
    About one idea short of being an excellent teenage romance. As it stands it's a pleasing but routine effort.
    • 60 Metascore
    • 50 Mick LaSalle
    The film remains, clearly by design, a cold piece, mechanistic and only intermittently involving.
    • 17 Metascore
    • 50 Mick LaSalle
    Part of the appeal is that it's so bad it's good: The story is ridiculous. At other times, it's just plain good: There are ski and snowboarding scenes, plenty of them, that are beautifully filmed and exhilarating to behold.
    • 48 Metascore
    • 50 Mick LaSalle
    Everybody in Admission is funny - Tina Fey, Paul Rudd, Lily Tomlin, Wallace Shawn - but they're not funny in Admission.
    • 43 Metascore
    • 50 Mick LaSalle
    His (George Clooney) rugged good looks spell movie star, but his body language spells Don Knotts, without the wit.
    • 57 Metascore
    • 50 Mick LaSalle
    I Origins is at its best when it's a personal story about relationships, and it has a strong first hour.
    • 41 Metascore
    • 50 Mick LaSalle
    I had a migraine when I started watching Larry Crowne, and by the end, it went away. None of this quite adds up to a recommendation, but it's close. Very close.
    • 24 Metascore
    • 50 Mick LaSalle
    A stink bomb of a movie.
    • 67 Metascore
    • 50 Mick LaSalle
    Occasionally brilliant, profiting from Fellini's distinct and unmistakable way of looking and seeing. But it goes in circles and wears out its welcome, except for the most hard-core enthusiasts.
    • 63 Metascore
    • 50 Mick LaSalle
    Fans of Les Misérables wouldn't have minded if the movie were different, but better, or just as effective. The screen version demanded some reconception, some vision to make sense of its existence. Instead, we're left with a film that is conscientious in all its particulars and yet strangely and mysteriously dead.
    • 33 Metascore
    • 50 Mick LaSalle
    Though charming at times, just misses, due to a contrived story.
    • 43 Metascore
    • 50 Mick LaSalle
    Lush and heartfelt, but compelling only in fits and starts.
    • 49 Metascore
    • 50 Mick LaSalle
    It's never boring, but it lacks a cumulative impact.
    • 57 Metascore
    • 50 Mick LaSalle
    Dunst is not the only person doing quality work in All Good Things, but she is the only one worth watching.
    • 69 Metascore
    • 50 Mick LaSalle
    An attempt at an epic. Sayles assembles a big cast and creates a mosaic of interweaving characters and story lines. But the stories are bland, the connections are incidental and the dramatic payoff is nonexistent.
    • 45 Metascore
    • 50 Mick LaSalle
    I like it for the thing it is, a reasonably solid B movie, and I like it as one in the continuum of bizarre Ford vehicles that combine high-stakes action with household horror.
    • 65 Metascore
    • 50 Mick LaSalle
    Though the film seems less like a theatrical release and more like something that might play on an obscure PBS station at 2 p.m. on a Sunday afternoon, it's reasonably interesting as a personality study.
    • 60 Metascore
    • 50 Mick LaSalle
    A 98-minute elucidation of a point that's accepted within three minutes.
    • 57 Metascore
    • 50 Mick LaSalle
    The best thing about Strangers With Candy is its relentlessness. It doesn't back off on its absurd humor, doesn't try to make sense and doesn't soft-pedal the characters.
    • 59 Metascore
    • 50 Mick LaSalle
    Alien 3 is pretentious and gimmicky by turns, resorting at times to silly B-movie tricks that undercut its seriousness and moments that can be anticipated from a mile off. [22 May 1992, P.D1]
    • San Francisco Chronicle
    • 49 Metascore
    • 50 Mick LaSalle
    Mighty Macs further distinguishes itself by, for once, giving a fair shake to nuns, who are treated with respect both in the performance of Ellen Burstyn, as the mother superior, and of Marley Shelton, who plays the assistant coach. It's about time.
    • 47 Metascore
    • 50 Mick LaSalle
    Plays like a war movie made in a time of war: too careful, too programmatic.
    • 55 Metascore
    • 50 Mick LaSalle
    Search for some independent inspiration, and you'll be looking for a long time.
    • 58 Metascore
    • 50 Mick LaSalle
    As a drama - an epic drama, no less, clocking in at 137 minutes - its fascination is diffused, and the movie becomes something of a long slog.
    • 49 Metascore
    • 50 Mick LaSalle
    Needless to say, Soul Men has a lot to overcome in its effort to be funny.
    • 76 Metascore
    • 50 Mick LaSalle
    While We’re Young is one step forward and two steps back for writer-director Noah Baumbach, whose movies are never less than intelligent but, at their worst, tend to settle for gestures instead of movements.
    • 49 Metascore
    • 50 Mick LaSalle
    Henry's Crime has three charismatic actors - Reeves, Vera Farmiga and James Caan - in search of a decent script, and what they find, instead, are a handful of good scenes and lots of room to build their respective characters.
    • 56 Metascore
    • 50 Mick LaSalle
    Miss Julie has almost everything — good actors, impeccable sets and direction rich in emotional detail — but it lacks madness and passion, and without those elements, it becomes a mere intellectual exercise.
    • 67 Metascore
    • 50 Mick LaSalle
    The temptation to be emphatic about Synecdoche, New York is overwhelming but should be resisted, because the movie really is a mixed bag. A particularly odd mix.
    • 41 Metascore
    • 50 Mick LaSalle
    The picture doesn't come close to approaching the near-classic quality of the earlier film.
    • 81 Metascore
    • 50 Mick LaSalle
    For all the movie's coarse grandeur -- for all the blood in its battle scenes and the grim historical accuracy of its depiction of antediluvian medical procedures -- the story of Master and Commander feels like something intended not for adults but for children.
    • 62 Metascore
    • 50 Mick LaSalle
    Daring and gutless at the same time. It's daring in that it's a romantic movie that's willing to be coarse. It's gutless in that it refuses to paint any of its characters in a negative light, even temporarily.
    • 45 Metascore
    • 50 Mick LaSalle
    Saddest, most hang-dog, most depressing movie possible.
    • 65 Metascore
    • 50 Mick LaSalle
    Despite its general intelligence and worthy performances, Kill Your Darlings makes it difficult to see how the Beats ever caught on.
    • 67 Metascore
    • 50 Mick LaSalle
    What the movie lacks -- a big lack, not a fatal lack -- is a compelling character at its center. Everyone in Garden State is fun, skewed, strange and singular.
    • 55 Metascore
    • 50 Mick LaSalle
    A Korean film that takes an American genre and gets fancy with it.
    • 69 Metascore
    • 50 Mick LaSalle
    Befuddling.
    • 55 Metascore
    • 50 Mick LaSalle
    The only way Bill Murray could seem less like Franklin D. Roosevelt in Hyde Park on Hudson is if the movie showed him winning a marathon.
    • 28 Metascore
    • 50 Mick LaSalle
    The story, a dystopian tale with heroes and villains and lots of triumphs and reversals, is so busy and so inherently interesting that the movie is entertaining until the finish - or the sort of finish. As only the first part of the story, Atlas Shrugged doesn't end, it stops.
    • 64 Metascore
    • 25 Mick LaSalle
    If this is the best we can do in terms of movies - if something like this can speak to the soul of audiences - maybe we should just turn over the cameras and the equipment to the alien dinosaurs and see what they come up with.
    • 51 Metascore
    • 25 Mick LaSalle
    It's one of those self-consciously cute pictures, about as hard to take as a person who stands in front of a mirror and preens all day. [23 Mar 1990, Daily Datebook, p.E1]
    • San Francisco Chronicle
    • 40 Metascore
    • 25 Mick LaSalle
    A useless film in every possible way.
    • 46 Metascore
    • 25 Mick LaSalle
    It's just off, odd and joyless.
    • 60 Metascore
    • 25 Mick LaSalle
    The result is a frustrating, boring mess.
    • 53 Metascore
    • 25 Mick LaSalle
    RocknRolla attempts to depict a world of ever-expanding chaos. But the chaos is only in the way the story is told. The actual vision Ritchie offers is pedestrian and tame.
    • 19 Metascore
    • 25 Mick LaSalle
    The temptation arises to say something nice about Grown Ups 2 just because it doesn't cause injury. But no, it's a bad movie, too, just old-school bad, the kind that's merely lousy and not an occasion for migraines or night sweats.
    • 52 Metascore
    • 25 Mick LaSalle
    Safe House is an idea for a movie. It's a few blustery gestures in the direction of a story, with five good actors doing their best, trying to hold up the barest frame of an idea, while investing the surrounding emptiness with all the truth they can muster.
    • 37 Metascore
    • 25 Mick LaSalle
    Whatever else W.E. may be (lousy, a waste of time, tin-eared, sleep-inducing, occasionally laughable, etc.), it's sincere and ambitious.
    • 33 Metascore
    • 25 Mick LaSalle
    These are good moments, and there are a few others, that prevent Tomb Raider from being one of the worst films of the year. But they're not enough to make it worth seeing.
    • 27 Metascore
    • 25 Mick LaSalle
    An awkward comedy made surprisingly bearable, most of the way, by one actress' ability to turn on the charm and sparkle.
    • 58 Metascore
    • 25 Mick LaSalle
    August: Osage County was a three-hour play that felt like two hours. It has been made into a two-hour movie that feels like a month.
    • 37 Metascore
    • 25 Mick LaSalle
    There are all kinds of bad movies in the world, but it's really only stardom that can create the exact variety of cinematic abortion we find in The Tourist.
    • 58 Metascore
    • 25 Mick LaSalle
    A noble attempt that doesn't hang together.
    • 61 Metascore
    • 25 Mick LaSalle
    An awkward hybrid of Asian and American film techniques. It's also an uninvolving story that casts Chan in the role of a fish out of water and gives him little opportunity to show his exuberant personality.
    • 39 Metascore
    • 25 Mick LaSalle
    This is strictly formula stuff, made worse by an utterly careless depiction of the characters.
    • 31 Metascore
    • 25 Mick LaSalle
    It's monumentally coarse and vulgar, aimed at the mentality of a 14-year-old locked inside his father's liquor cabinet, and nothing about it is funny, least of all Adam Sandler.
    • 47 Metascore
    • 25 Mick LaSalle
    Here's the tricky thing about The Strangers. Sure, it uses cinema to ends that are objectionable and vile ... but it does it well, with more than usual skill.
    • 65 Metascore
    • 25 Mick LaSalle
    The film itself is wretched. A grueling, numbing black hole.
    • 47 Metascore
    • 25 Mick LaSalle
    Aspires to the breezy esprit of a Richard Lester comedy from the '60s, but it's a deadly, leaden affair.
    • 45 Metascore
    • 25 Mick LaSalle
    Spins an unconvincing, miscast noir tale.
    • 51 Metascore
    • 25 Mick LaSalle
    It's the cinematic equivalent of an all-dessert meal: After the initial jolt, the lack of any real nourishment is apparent, and it becomes a struggle to stay awake.
    • 39 Metascore
    • 25 Mick LaSalle
    There's nothing here but a concept and a marketing and merchandising strategy, at the center of which somebody - oh, no - had to come up with an actual movie.
    • 12 Metascore
    • 25 Mick LaSalle
    At times, it actually hurts to watch.
    • 54 Metascore
    • 25 Mick LaSalle
    The movie equivalent of an idiot who, to avoid scorn, starts acting like an even bigger idiot, so as to get in on the joke, too...It takes everything and nothing seriously, depending on what the filmmakers think they can get away with at any given moment, and the result, while not painful to watch, is ridiculous.
    • 31 Metascore
    • 25 Mick LaSalle
    Represents his (Smith) first act of cinematic cynicism, his first crime against his own talent. With this action comedy, he has given us 110 worthless minutes, a bad formula movie like every other bad formula movie.
    • 49 Metascore
    • 25 Mick LaSalle
    Blanchett's performance is Soderbergh's biggest mistake. He either encourages or permits her to play Lena as a Greta Garbo caricature, which is mildly amusing if you're interested in Garbo, but if you're interested in Lena and The Good German, you're out of luck.
    • 65 Metascore
    • 25 Mick LaSalle
    An overwrought drama.
    • 31 Metascore
    • 25 Mick LaSalle
    The film is neither fish nor fowl nor some arresting new entity, but a lumpish coagulation of conflicting impulses and unrealized gestures.
    • 59 Metascore
    • 25 Mick LaSalle
    It turns out to be just as bad as any routine French romantic comedy - illogical, inconsistent and sloppily written, a charmless, tasteless, witless waste of time.
    • 55 Metascore
    • 25 Mick LaSalle
    The film is glossy, but awful. Frenetic, but awful. Expensive, but awful. ... And awful.
    • 26 Metascore
    • 25 Mick LaSalle
    One could criticize A Night at the Roxbury for being a comedy that provides not a single laugh. That would be too easy.
    • 22 Metascore
    • 25 Mick LaSalle
    Standing Ovation is an innovative film in the sense that every minute or so it comes up with a different way of being annoying. Moreover, it often goes for a layered effect, in which it's annoying in two or three ways simultaneously.
    • 43 Metascore
    • 25 Mick LaSalle
    This seemingly good idea results in disaster. Allen has no insight into the current generation of young people, and his film is just a jumbled rehash of themes and motifs that he's explored elsewhere.
    • 45 Metascore
    • 25 Mick LaSalle
    SWAT is better than "Gigli," but so is most outpatient surgery.
    • 37 Metascore
    • 25 Mick LaSalle
    A sour romantic comedy that arrives in theaters just in time to spoil Valentine's Day. Its plot is a catalog of unpleasantness. Its characters are repellent.
    • 27 Metascore
    • 25 Mick LaSalle
    Twenty minutes in, the movie is already operating at a deficit, and it never recovers.
    • 53 Metascore
    • 25 Mick LaSalle
    Amateur gives the impression of a sloppy first draft. It begins with a splash, meanders until it reaches feature length, then ends abruptly.
    • 49 Metascore
    • 25 Mick LaSalle
    A whimsical modern fairy tale.
    • 51 Metascore
    • 25 Mick LaSalle
    Has a gutsy premise, but no guts.
    • 51 Metascore
    • 25 Mick LaSalle
    Blackhat is pretty much nonsense, which Mann directs with such misplaced energy and with such little natural instinct for the material that, for most of the running time, the movie’s problems seem entirely his fault.
    • 42 Metascore
    • 25 Mick LaSalle
    This is just plain bad - and it's a surprise.
    • 65 Metascore
    • 25 Mick LaSalle
    A film with no theatrical core and no integrity in the writing, acting or storytelling.
    • 40 Metascore
    • 25 Mick LaSalle
    An attempt at a beautiful film about renewal -- about past love, love lost, longing and rediscovery -- but it has no emotional truth.
    • 19 Metascore
    • 25 Mick LaSalle
    Ill conceived and unworthy (and dull and ridiculous).
    • 62 Metascore
    • 25 Mick LaSalle
    It tries to get by on charm. It doesn't.
    • 46 Metascore
    • 25 Mick LaSalle
    For about an hour of its running time, The Magic of Belle Isle seems like a tiresome, sentimental and slow-moving story about a grumpy old man redeemed by the sweet spirit of a rural town and by the nice family that lives next door. But no, it's even worse than that.
    • 10 Metascore
    • 25 Mick LaSalle
    Ugly. ..and unpleasant -- and clueless on a grand scale.
    • 55 Metascore
    • 25 Mick LaSalle
    The production values are first rate. But you will wait in vain to hear a good reason for this movie's existence.
    • 41 Metascore
    • 25 Mick LaSalle
    The result is that rare movie specimen, a completely intentional, expertly guided work of art that fails almost completely.
    • 56 Metascore
    • 25 Mick LaSalle
    This isn't pleasant to watch. Neither is it amusing, intellectually engaging, whimsically fascinating, coldly satirical or painfully poignant, though at any given moment in this erratic film director Tom Tykwer might be trying for one of these conflicting tones.
    • 27 Metascore
    • 25 Mick LaSalle
    Sometimes it's unpleasant, sometimes it's insincere, and for long stretches it's boring.
    • 66 Metascore
    • 25 Mick LaSalle
    Thus, we find ourselves watching an ice-cold movie about competition that contains not a shred of rooting interest.
    • 36 Metascore
    • 25 Mick LaSalle
    It's hard to sit all the way through Aeon Flux while fully awake.
    • 65 Metascore
    • 25 Mick LaSalle
    A ponderous and dreadful film.
    • 39 Metascore
    • 25 Mick LaSalle
    Dreary movie.
    • 48 Metascore
    • 25 Mick LaSalle
    The film is like watching a very bad play as presented by a very bad director.
    • 48 Metascore
    • 25 Mick LaSalle
    It's possible there has never been anything like it. It contains memorable dialogue, vivid characters and several superb scenes, and yet it still manages to be wrong, a complete miscalculation.
    • 60 Metascore
    • 25 Mick LaSalle
    It's the worst kind of convoluted thriller -- it can never unravel satisfactorily because there's nothing simple at its center, just more confusion.
    • 60 Metascore
    • 25 Mick LaSalle
    There's only so much Soderbergh can do. Gray's Anatomy is made up mainly of Gray, and there's a whole lot of Gray going on. The story is unremarkable. Gray's observations, pedestrian.
    • 25 Metascore
    • 25 Mick LaSalle
    A funny comedy for about 90 seconds. Then Bette Midler goes off a cliff.
    • 76 Metascore
    • 25 Mick LaSalle
    Martha Marcy May Marlene is a strange case, a drama that's disturbing and yet inert. Writer-director Sean Durkin builds an atmosphere of dread, which means that he persuades us to believe in the characters and in the central situation. But he doesn't build interest.
    • 65 Metascore
    • 25 Mick LaSalle
    The film ends up landing in a confused middle category. It's neither a coherent, discrete work nor a zany tribute to the late actor.
    • 73 Metascore
    • 25 Mick LaSalle
    Here's a tiresome feature that could be made into a wonderful 20-minute film -- or, with a few adjustments, into two or three 10-minute shorts.
    • 24 Metascore
    • 25 Mick LaSalle
    In Godsend, we have the spectacle of three good actors tied to the mast of a sinking premise.
    • 46 Metascore
    • 25 Mick LaSalle
    [Hartley] changes the script enough so that the integrity of his experiment goes out the window. But he doesn't change enough so that the narrative can have any suspense.
    • 33 Metascore
    • 25 Mick LaSalle
    The bottom line here is that Cyrus is ghastly in The Last Song, bad not just in one or two ways, but in all kinds of ways.
    • 36 Metascore
    • 25 Mick LaSalle
    Runner Runner is less than mediocre, but it's not repellent, which means that to watch it is to root for it - and to be disappointed.
    • 59 Metascore
    • 25 Mick LaSalle
    It's dreadful, but it's a special kind of dreadful -- the kind designed to appeal to intelligent people on principle.
    • 57 Metascore
    • 25 Mick LaSalle
    Bram Stoker's Dracula is a lovingly made, gorgeously realized, meticulously crafted failure. It has big names, a big budget, big sets, a big, thundering score and even big hair. But it doesn't do it. It doesn't excite or fascinate but just lies there on the screen. [13 Nov 1992, p. C1]
    • San Francisco Chronicle
    • 39 Metascore
    • 25 Mick LaSalle
    The presence of Washington lends the picture a much-needed dose of authenticity. But in the end Virtuosity is disconnected and uninvolving, despite -- or maybe because of -- a climax that comes in three distinct waves. One section seems to be a half-hour sound-and-light show.
    • 72 Metascore
    • 25 Mick LaSalle
    Mean-spirited and not remotely clever, though it strives for archness at every turn.
    • 31 Metascore
    • 25 Mick LaSalle
    Unfortunately, the characters are so programmatic, the premise so ridiculous and the situations so far-fetched even if you accept that premise that no energy can be built, and the little that's there can't be sustained. Red Dawn is a vigorous but pointless exercise.
    • 40 Metascore
    • 25 Mick LaSalle
    Friedkin is steeped in gore, like some cinematic Macbeth, and it's obscuring his artistic vision.
    • 28 Metascore
    • 25 Mick LaSalle
    About as awful as a film can be without being the ultimate awful, which is boring.
    • 38 Metascore
    • 25 Mick LaSalle
    Ouija has something wrong with it from the first five minutes.
    • 42 Metascore
    • 25 Mick LaSalle
    An action blockbuster that's one of the biggest misfires in its genre since "Godzilla."
    • 65 Metascore
    • 25 Mick LaSalle
    Suffers from some of the deficiencies common to first features. It is sincere and earnest but the product of an assumption that the milieu itself is compelling enough to command an audience's attention.
    • 24 Metascore
    • 25 Mick LaSalle
    The Adventures of Ford Fairlane, is a stiff, guaranteed to disappoint just about everybody, except those rooting against him. [11 Jul 1990, p.E1]
    • San Francisco Chronicle
    • 58 Metascore
    • 25 Mick LaSalle
    The movie reveals itself as not merely dull, but pointless.
    • 65 Metascore
    • 25 Mick LaSalle
    Goes nowhere.
    • 26 Metascore
    • 25 Mick LaSalle
    Has to go down as a failed comedy. It's just not enough of a comedy.
    • 40 Metascore
    • 25 Mick LaSalle
    Credit the director for one thing. He could have stretched it to three hours, but he gets in and out of this mess in less than two.
    • 34 Metascore
    • 25 Mick LaSalle
    With most movies that fail, the fault can be ascribed to carelessness or lack or inspiration or cynicism. But Chelsea Walls, directed by actor Ethan Hawke, is clearly a labor of love.
    • 65 Metascore
    • 25 Mick LaSalle
    Coppola has no trouble convincing viewers that Marie Antoinette is an interesting historical subject, but there's a big distance between that and creating a fascinating personality or fashioning a compelling narrative.
    • 42 Metascore
    • 25 Mick LaSalle
    Heartfelt but interminable movie.
    • 64 Metascore
    • 25 Mick LaSalle
    Here Balasko, best known as a comedian, is particularly satisfying. But the reward is too small on the investment, and the film's resolution is downright irritating - not just a waste of time, but a waste of time with attitude.
    • 61 Metascore
    • 25 Mick LaSalle
    Worst of all, in promoting its hero's eccentric journey as a voyage of healing, the movie replaces emotional precision and intellectual honesty with syrupy sincerity and insistence. It turns boring and cute and begs us to love it.
    • 64 Metascore
    • 25 Mick LaSalle
    Only in the movie business could someone sell such shoddy merchandise and expect people to buy it. If The Hunger Games: Mockingjay — Part 1 were an appliance, it would be a broken toaster that people would toss in the garbage. Except that analogy is too kind, in that “Mockingjay” would be half a toaster.
    • 53 Metascore
    • 25 Mick LaSalle
    Everything about the idea of Mr. Popper's Penguins sounds lovely, and everything about the actual movie is ugly.
    • 40 Metascore
    • 25 Mick LaSalle
    It's a strange thing, this type of whimsy. Kari offers us ideas in place of characters, and yet he expects us to see through these ideas to the real-life conditions they represent - and then to respond to them in kind.
    • 36 Metascore
    • 25 Mick LaSalle
    As far as formulaic, empty and disappointing comedies go, The Watch is far from the worst. About every seven or eight minutes, perhaps a dozen times over the course of the picture, the movie generates a medium-size laugh. Not a big laugh.
    • 53 Metascore
    • 25 Mick LaSalle
    More than the usual bad or even numbingly horrible movie. It's an amalgam of many of the modern cinema's worst tendencies and modern filmmaking's most unfortunate misconceptions.
    • 45 Metascore
    • 25 Mick LaSalle
    A single 125-minute monstrosity of a cop movie.
    • 35 Metascore
    • 25 Mick LaSalle
    Could hardly be called a success -- it's rather a likable disaster.
    • 14 Metascore
    • 25 Mick LaSalle
    In the long history of bad movies about bad illnesses, A Little Bit of Heaven just might be the worst.
    • 67 Metascore
    • 25 Mick LaSalle
    You can almost say it simulates an experience of brain injury in the audience: Nothing adheres, nothing connects. It's just nonstop cuteness, poses and emptiness - with nothing logically following from one moment to the next. It would be exaggerating to call it torture, and yet why split hairs?
    • 47 Metascore
    • 25 Mick LaSalle
    Going after one innocent man was bad enough. Going after another constitutes a pattern. This marshal isn't a hero. He's a menace.
    • 49 Metascore
    • 25 Mick LaSalle
    Everything connected with the lovers, who are the point of the movie, is either ordinary or unwittingly funny, and the laughs come early.
    • 68 Metascore
    • 25 Mick LaSalle
    The film occupies that peculiar space that many of us would prefer to believe doesn’t exist, a movie that’s worthy but often inert, by turns enriching and enervating: a good boring movie.
    • 44 Metascore
    • 25 Mick LaSalle
    Perfunctory, thrill- free sequel.
    • 56 Metascore
    • 25 Mick LaSalle
    It's a tepid, quiet and uneventful film, directed almost in slow motion, with no narrative propulsion and with a succession of very similar scenes. The actors speak softly and pause a lot. And in the background is the steady hum of the soundtrack.
    • 54 Metascore
    • 25 Mick LaSalle
    Serious intent may be lurking somewhere in there, but it's buried under layers of stupidity - not just stupid jokes, which is what you want from Sandler, but also stupid, shallow thinking.
    • 45 Metascore
    • 25 Mick LaSalle
    One of those comedies in which almost everything good about it is extraneous. There are funny lines and quirky bits, but in terms of story and character, the movie is empty and pointless.
    • 43 Metascore
    • 25 Mick LaSalle
    The strain and desperation are apparent from the first scene.
    • 30 Metascore
    • 25 Mick LaSalle
    A wretched comedy about middle-aged romance.
    • 42 Metascore
    • 25 Mick LaSalle
    Floats is corny and false, with a script by Steven Rogers that's almost 100 percent artificial sweetener.
    • 44 Metascore
    • 25 Mick LaSalle
    A great role becomes an unenviable chore, in which a superb comic actress finds herself trying to sell a series of unfunny comic situations by mugging and pushing with all her might. It's an unflattering spectacle for all concerned.
    • 69 Metascore
    • 25 Mick LaSalle
    An agony of bad plotting and whimsical, lifeless scenes.
    • 36 Metascore
    • 25 Mick LaSalle
    These people are so stupid that they make us think, well, wait a second: Maybe those livers and kidneys could be put to better use.
    • 25 Metascore
    • 25 Mick LaSalle
    The film is intended to be light and whimsical, but with a core of sincere emotion. But it's as if the thing were made by Martian anthropologists who assume that human audiences are as twisted as the people onscreen.
    • 22 Metascore
    • 25 Mick LaSalle
    But Congo leads to nothing but a fierce battle with the gray gorillas, a kind of guns vs. fangs scene; and a convenient and incongruous volcano eruption that looks as artificial as a video game.
    • 23 Metascore
    • 25 Mick LaSalle
    Falls apart immediately, then limps on for 45 minutes more.
    • 29 Metascore
    • 25 Mick LaSalle
    It’s just bad. It’s boring, folks.
    • 34 Metascore
    • 25 Mick LaSalle
    For all it does right, there's something seriously wrong.
    • 63 Metascore
    • 25 Mick LaSalle
    You know there is something seriously wrong with Anna Karenina when you start rooting for the train.
    • 56 Metascore
    • 25 Mick LaSalle
    A mix of the powerful and the ridiculous, and eventually the ridiculous wins. The movie deals with a big subject that has received scant treatment in movies - the genocide in Bosnia in the 1990s - giving voice and testimony to what happened there. But the ill-conceived fictional elements take the picture right off the rails.
    • 30 Metascore
    • 25 Mick LaSalle
    If the first "Hangover" movie were this awful, there never would have been a Part Two. This is a joyless, unfunny mix of comedy and drama, a complete waste of time, with exactly one good joke in the entire movie. It comes in the first minute. After that, you can leave.
    • San Francisco Chronicle
    • 36 Metascore
    • 25 Mick LaSalle
    This is anti-funny, where every attempt at a joke is like a little rock thrown at your face.
    • 42 Metascore
    • 25 Mick LaSalle
    Holes in the script, overwrought camera work, dialogue that's embarrassing, and a plot device that's obvious 10 minutes into the movie - all these are major problems.
    • 40 Metascore
    • 25 Mick LaSalle
    Maybe there's a metaphor here, but figuring it out wouldn't make Trouble Every Day any better.
    • 50 Metascore
    • 25 Mick LaSalle
    Has no narrative throughline, no emotional spine. It's a mess.
    • 36 Metascore
    • 25 Mick LaSalle
    Two awful things about Push are at least interesting: The first is the way in which the story is confused. The second is that the story makes no sense.
    • 27 Metascore
    • 25 Mick LaSalle
    It's as close to nothing as anything could be while still being something.
    • 29 Metascore
    • 25 Mick LaSalle
    A romantic comedy and an adventure story, but in this case that just means it bombs in two distinct ways.
    • 27 Metascore
    • 25 Mick LaSalle
    There's just the matter of facing it: that The Perfect Man is just something slapped together -- by people who don't care, for an audience they figure will care even less.
    • 75 Metascore
    • 25 Mick LaSalle
    This is not one of the good Altmans. This isn't even one of the mediocre Altmans.
    • 27 Metascore
    • 25 Mick LaSalle
    The overall premise, involving mental illness and suicide, isn't all that funny, at least not in practice, and the picture begins to seem labored and long.
    • 61 Metascore
    • 25 Mick LaSalle
    The Bourne series ended with the last installment, and now comes a 135-minute death rattle called The Bourne Legacy. It's a peculiar movie, both over-plotted and under-plotted, encumbered by layers of detail and yet with no details invested in or developed.
    • 57 Metascore
    • 25 Mick LaSalle
    Drama is as much about perspective as it is about events, and the angle provided by How I Live Now turns out to be self-defeating.
    • 36 Metascore
    • 25 Mick LaSalle
    Has a vacant, inept, why-oh-why feeling from its opening minutes and only gets worse.
    • 66 Metascore
    • 25 Mick LaSalle
    There's not a single moment here in which Nixon is admirable, decisive or appealing. Nixon doesn't work as a drama, but with a little push it might have been a great comedy.
    • 67 Metascore
    • 25 Mick LaSalle
    The action comes so fast and furious in Furious 7 that, for all the explosions and overturned cars and missiles fired on downtown Los Angeles, it becomes a dull muddle. Here and there, we get the imaginative and outrageous stunts this series is famous for, but mostly the movie plods along, muscling through without much life or spirit.
    • 40 Metascore
    • 25 Mick LaSalle
    Faced with a story that doesn't make much sense, the filmmakers switch gears and try for a sociological statement - something about the marginalized and the neglected. This makes for a funny last five minutes, but sad, too, because Walker was better than this, even if his movies sometimes weren't.
    • 61 Metascore
    • 25 Mick LaSalle
    The To Do List is a romantic comedy with no romance and little comedy, but with an ugliness of spirit that's surprising and unrelenting.
    • 48 Metascore
    • 25 Mick LaSalle
    How many doubts can Lee possibly cram into one motion picture? Red Hook Summer has almost too many to count: moments that go clunk, followed by others that go clang; actors who talk as if reading their lines off cue cards or rehearsing them for the first time; and set pieces that lie there.
    • 70 Metascore
    • 25 Mick LaSalle
    The picture, which marks the debut of Mexican film maker Guillermo del Toro, is a dull hybrid - a ponderous art film crossed with a vampire story. [06 May 1994]
    • San Francisco Chronicle
    • 32 Metascore
    • 25 Mick LaSalle
    It's a romantic comedy with insights into sex and relationships that are old and obvious.
    • 31 Metascore
    • 25 Mick LaSalle
    Jack is a warm, heartfelt disaster that shows that life is fleeting but movies can be very long indeed.
    • 45 Metascore
    • 25 Mick LaSalle
    Hesher is about as awful as independent films get, a mix of ugliness and unearned sentiment, with a flat story, repellent and pathetic characters and dialogue that consists of lots of stammering and cursing.
    • 35 Metascore
    • 25 Mick LaSalle
    110 minutes of Euro silliness mitigated only by the presence of Huppert and the striking ability of the actors to keep a straight face throughout this mess.
    • 56 Metascore
    • 25 Mick LaSalle
    The picture, for all its slickness and style, is empty, empty-headed and emotionally false… [It] has no more depth than "Pretty Woman" and occupies the same moral landscape. [5 Apr 1991, Daily Datebook, p.E11]
    • San Francisco Chronicle
    • 37 Metascore
    • 25 Mick LaSalle
    Ugly, gore-strewn and, ultimately, ridiculous.
    • 44 Metascore
    • 25 Mick LaSalle
    A repellent, stupid film.
    • 34 Metascore
    • 25 Mick LaSalle
    It's a gorefest, a borefest and a snorefest.
    • 46 Metascore
    • 25 Mick LaSalle
    Has that title going for it, which might annoy or provoke you. It makes me suspicious. It's the kind of flashy, meaningless title that's usually given to drab, pointless films.
    • 67 Metascore
    • 25 Mick LaSalle
    There's a lot of bad hair and incoherent, drug-addled remarks, but inside a minute we get the joke, and it isn't much.
    • 48 Metascore
    • 25 Mick LaSalle
    Unfortunately, Sucka falls apart after the first half-hour. The action sequences are confusing and senseless. The setups for the action scenes are long and pointless. You know where the movie is heading, and there are no surprises along the way. It's one joke, over and over. [17 Feb 1989, p.E7]
    • San Francisco Chronicle
    • 41 Metascore
    • 25 Mick LaSalle
    Another dreadful, not-funny Owen Wilson movie, in which Wilson is the best thing.
    • 44 Metascore
    • 25 Mick LaSalle
    The Losers is boring. It's predictable. It's so, so active, and yet so, so dead.
    • 39 Metascore
    • 25 Mick LaSalle
    As a first-time director, Falcone has trouble maintaining a specific tone - the movie wobbles back and forth between sentimentality and silliness, sometimes even within the same scene.
    • 52 Metascore
    • 25 Mick LaSalle
    Inside 10 minutes, at most 15, Be Kind Rewind reveals itself as an awful mess, and it only gets worse.
    • 26 Metascore
    • 25 Mick LaSalle
    Not surprisingly, only Samuel L. Jackson seems fully to understand that he's in a bad movie, and he makes a virtue of it, using it as an excuse to hang loose, overact and ride the scenes for wherever they might go.
    • 32 Metascore
    • 25 Mick LaSalle
    A disgrace to the talents of Robert De Niro and Eddie Murphy, but it's not enough just to say that. It's also a disgrace to the talents of Rene Russo and whoever drove the coffee truck to the set every day.
    • 35 Metascore
    • 25 Mick LaSalle
    A thriller without thrills. It's also a thriller that cheats. The story is stretched to feature length only by having the film's incidents arranged in such a way as to reveal as little as possible.
    • 41 Metascore
    • 25 Mick LaSalle
    An adventure in mediocrity that brings together some of the worst current techniques and trends.
    • 50 Metascore
    • 25 Mick LaSalle
    Hoodlum is an overlong gangster movie, a bloated and often laughable attempt at an epic.
    • 53 Metascore
    • 25 Mick LaSalle
    It's as if there's a barrier between the viewer and the story that never comes down.
    • 19 Metascore
    • 25 Mick LaSalle
    Everything about it is manufactured -- the emotions are false, the sentiments are phony, and the story is a construction of mirthless silliness. It's a product, not a creative expression.
    • 28 Metascore
    • 25 Mick LaSalle
    That was probably writer-director Roman Coppola's main responsibility in "Charles Swan," to give the audience a character worth watching. Get that right, and everything else falls into place. Get that wrong, and the audience finds out just how long 84 minutes can be. The answer: really long.
    • 54 Metascore
    • 25 Mick LaSalle
    A complete bust, but the ways in which it fails are interesting.
    • 54 Metascore
    • 25 Mick LaSalle
    The effect of the 2 1/2-hour film is deadening.
    • 37 Metascore
    • 25 Mick LaSalle
    This is a story that should have been, at the absolute most, 20 minutes long.
    • 25 Metascore
    • 25 Mick LaSalle
    What we have is the case of a movie with a straight man (Jason Lee) who really is funny, but with a comic (Tom Green) who sadly isn't.
    • 55 Metascore
    • 25 Mick LaSalle
    [Pedro Almodovar] gives it a nice try, but his approach turns out to be completely wrong for the material he's working with here. [25 May 1990]
    • San Francisco Chronicle
    • 53 Metascore
    • 25 Mick LaSalle
    Australia shows all the signs of having been a labor of love for director Baz Luhrmann. One problem: It's his love, and the audience's labor.
    • 33 Metascore
    • 25 Mick LaSalle
    Jaden is not ready for his solo spotlight, and the film is the same action over and over. Another bad movie from Shyamalan.
    • 57 Metascore
    • 25 Mick LaSalle
    Wexler gets tired of his own movie near the end of it. The viewer will get tired in 15 minutes.
    • 35 Metascore
    • 25 Mick LaSalle
    Identity Thief is not only not funny. It's negative funny. It's short on laughs, but it will disturb and annoy.
    • 70 Metascore
    • 25 Mick LaSalle
    It wimped out by blanding down the story and the characters to the point where she isn't really a shrew and he isn't really a maniac.
    • 23 Metascore
    • 25 Mick LaSalle
    A big disappointment.
    • 64 Metascore
    • 25 Mick LaSalle
    Midway, Mondays in the Sun becomes as dull as a day with nothing to do.
    • 48 Metascore
    • 25 Mick LaSalle
    Gradually, FX2 ties itself into a knot it can't undo even with the most desperate of measures. Everything is left hanging, and by the end the plotting is so clumsy it's embarrassing. [10 May 1991, p.E3]
    • San Francisco Chronicle
    • 58 Metascore
    • 25 Mick LaSalle
    A long-winded indulgence in tear-and-a-smile whimsy, elevated above the merely irritating and saccharine by compelling art direction.
    • 53 Metascore
    • 25 Mick LaSalle
    Every single thing wrong with John Dies at the End might have been avoided had John died at the beginning, along with all the other characters, transforming an awful full-length movie into a harmless five-minute short.
    • 49 Metascore
    • 25 Mick LaSalle
    A sour misfire.
    • 19 Metascore
    • 25 Mick LaSalle
    Why was the sight of scrawny Woody Allen kissing pretty Diane Keaton never revolting, while scrawny David Spade kissing beautiful Sophie Marceau in Lost & Found is the creepiest cinematic sight of the year?
    • 32 Metascore
    • 25 Mick LaSalle
    The satire is unfocused, while the story goes nowhere. Too bad. The material is ripe for satire.
    • 47 Metascore
    • 25 Mick LaSalle
    It gets worse and worse as it goes along and finally ends just as it's becoming unbearable.
    • 65 Metascore
    • 25 Mick LaSalle
    Flat and uninspired.
    • 33 Metascore
    • 25 Mick LaSalle
    Super- violent, super-serious and super-stupid.
    • 40 Metascore
    • 25 Mick LaSalle
    In its second half, Outlander falls apart completely, becoming nothing but a violent, mindless monster movie along the lines of "Alien vs. Predator."
    • 81 Metascore
    • 25 Mick LaSalle
    On its own terms, the film is overlong, repetitive and lacks impact. Even if this were the first gorilla-in-love movie ever made, audiences would come away vaguely dissatisfied, suspecting there was an intriguing idea buried somewhere in here, but it didn't quite come off.
    • 31 Metascore
    • 25 Mick LaSalle
    The most enjoyable way to watch Surveillance - "enjoyable," in the relative sense - is to take its awfulness for granted and pay attention to everything Bill Pullman does.
    • 35 Metascore
    • 25 Mick LaSalle
    So you get comments from the likes of Paul Rudd, Adam Carolla and Judd Apatow, all trying to be funny, but not one says anything remotely amusing or worth hearing.
    • 33 Metascore
    • 25 Mick LaSalle
    Arrives in theaters today with a sheet over its head and a tag on its toe. So to speak. What we have here is a complete systemic failure, a comedy that's not funny, with action that's not thrilling.
    • 53 Metascore
    • 25 Mick LaSalle
    Imagine the worst "Deadwood" episode ever, and you'll get an idea of the general tone of Beowulf & Grendel, which is full of anachronistic cursing, tortured syntax, dark humor and lots of hairy, homely, filthy-looking people.
    • 36 Metascore
    • 25 Mick LaSalle
    Serious Moonlight is a tonal disaster, distasteful and sentimental by turns. It was probably a mistake to have Hines try to walk that same delicate line that took Shelly her entire career to master.
    • 42 Metascore
    • 25 Mick LaSalle
    A dreadful exercise, with a script full of contradictions and empty gestures and a leading lady who's such a novice it hurts to watch her.
    • 32 Metascore
    • 25 Mick LaSalle
    The Ex isn't painful, horrible or despicable, but it is an amazing mess.
    • 64 Metascore
    • 25 Mick LaSalle
    Consists of long stretches of boredom, banal dialogue and contorted metaphors, interrupted by flashes of ugliness. See it if you want to be put off of sex for a month - longer if you're older, and perhaps for years if you're very young.
    • 54 Metascore
    • 25 Mick LaSalle
    Neither funny nor outrageous nor horrifying nor conventionally affecting.
    • 58 Metascore
    • 25 Mick LaSalle
    A disappointment, a precious and grotesque exercise reminiscent of Jean-Pierre Jeunet's "Delicatessen," only less amusing.
    • 67 Metascore
    • 25 Mick LaSalle
    Showcasing three individuals whose spiritual and physical journeys are both repellent and mundane, the film is just a long and pointless slog.
    • 54 Metascore
    • 25 Mick LaSalle
    A cute movie, a little too cute and a little too aware of its own cuteness.
    • 46 Metascore
    • 25 Mick LaSalle
    It's great to see cherished, longtime stars in big roles to which they can bring so much spontaneity and finesse; you wish only that this movie were sturdier and had aimed higher. Judging from the bloopers that unreel during Grumpier Old Men's end credits, the cast had lots of fun making this movie--more fun, it would seem, than it is to watch.
    • 39 Metascore
    • 25 Mick LaSalle
    Stone tries to make us like Alexander because he's good, when he should have made us want to watch Alexander because he's amazing.
    • 37 Metascore
    • 25 Mick LaSalle
    The first and most honest thing to say about Miracle at St. Anna is that it's an awful mess.
    • 64 Metascore
    • 25 Mick LaSalle
    Che
    If Soderbergh's ambition was to make us feel just how dull it would be to a woods-dwelling communist guerrilla, he succeeded.
    • 22 Metascore
    • 25 Mick LaSalle
    Innocuous and dull.
    • 70 Metascore
    • 25 Mick LaSalle
    This is an embarrassing film. It's a sex comedy that sets itself up as a satire of middle-class mores, except there's no truth behind any of its observations. LaBute tries to be shocking and manages only to be shockingly puerile -- tasteless in a high-school-boyish sort of way.
    • 55 Metascore
    • 25 Mick LaSalle
    Yes
    Mostly unbearable.
    • 53 Metascore
    • 25 Mick LaSalle
    Franco Zeffirelli's Hamlet, a senselessly adapted, ill-conceived, poorly acted mess of a film that's guaranteed to frustrate anyone who loves the play and to put everybody else to sleep. [18 Jan 1991]
    • San Francisco Chronicle
    • 29 Metascore
    • 25 Mick LaSalle
    Attempts to convey emotional dislocation and passion at the same time. All we get is distance.
    • 45 Metascore
    • 25 Mick LaSalle
    The Chamber has nowhere to go and it goes there slowly, flirting in all directions.
    • 56 Metascore
    • 25 Mick LaSalle
    The emotional core of the movie, the relationship between Nicky and Jess, lacks impact, mostly because you can’t believe a word that they say, but also because Smith is not a strong leading man.
    • 59 Metascore
    • 25 Mick LaSalle
    Promised to be the season's thoughtful action picture, turns out to have few thoughts and no thrills.
    • 46 Metascore
    • 25 Mick LaSalle
    Jaw-droppingly awful.
    • 46 Metascore
    • 25 Mick LaSalle
    The film is obvious, weak and scattered and seems more like a practical joke than a work of genuine passion. It is without exaggeration one of the most blindingly boring films I've seen in years.
    • 31 Metascore
    • 25 Mick LaSalle
    The Lazarus Effect is not the usual mindless thriller, but it’s as flat as an open soda from last week, with dull characters and virtually every scene taking place in a single location. It looks as if it cost about 12 bucks to make — and somebody got robbed.
    • 48 Metascore
    • 25 Mick LaSalle
    "300" was an innovative and imaginative action film, but the follow-up, 300: Rise of an Empire, is nothing but a disappointment.
    • 12 Metascore
    • 25 Mick LaSalle
    A discordant comedy that gives bad taste a bad name.
    • 40 Metascore
    • 25 Mick LaSalle
    Butter is a misfire. At 90 minutes it feels inflated, and though clearly intended as funny, it's difficult to locate, except in the most general terms, the focus of the movie's satire, and there's not a laugh to be had.
    • 63 Metascore
    • 25 Mick LaSalle
    Scorsese stuffs the film with heavy-handed art direction and piles on a ludicrously ominous soundtrack. The soundtrack is a constant reminder of the movie's importance and only highlights its unimportance.
    • 29 Metascore
    • 25 Mick LaSalle
    We all know how actors overact when they play Italians, and we all know how actors overact when they play brain-damaged characters, so just imagine Knight's performance as a brain-damaged Italian American.
    • 52 Metascore
    • 25 Mick LaSalle
    An utter debacle.
    • 44 Metascore
    • 25 Mick LaSalle
    Just because it's a conscious commentary on other vile, useless, pointless cinematic exercises doesn't make it any less vile, useless and pointless.
    • 17 Metascore
    • 25 Mick LaSalle
    Just awful… There is probably not one interrupted 60-second stretch in which a line of dialogue doesn't clunk, an action doesn't ring false or an irritating plot turn doesn't present itself. [25 May 1991]
    • San Francisco Chronicle
    • 44 Metascore
    • 25 Mick LaSalle
    The Village seems poised to become as cheesy in its effects as a low-budget horror film. Shyamalan's gracefulness keeps his movie just out of that abyss.
    • 64 Metascore
    • 25 Mick LaSalle
    Director Edward Zwick tried to make a great movie, but somewhere in the process he forgot to make a good one.
    • 68 Metascore
    • 25 Mick LaSalle
    The movie is overplotted, a soulless maze of special effects and relentless action.
    • 45 Metascore
    • 25 Mick LaSalle
    This isn't absurdity. This is nonsense - and it's as boring as nonsense.
    • 57 Metascore
    • 25 Mick LaSalle
    Suffers from a problem in its rhythm. It's not that its pace is too slow, but that it's too regular, and this lack of syncopation makes it feel slow.
    • 44 Metascore
    • 25 Mick LaSalle
    One pities poor Molly Parker, a fine actress who was somehow persuaded to disrobe for this degrading and dispiriting Wayne Wang film.
    • 37 Metascore
    • 25 Mick LaSalle
    So desperate and silly that here and there, it's a lot of fun.
    • 50 Metascore
    • 25 Mick LaSalle
    The movie isn't hellish, because there's always hope of leaving it. It's more like purgatory, two whole hours of it.
    • 67 Metascore
    • 25 Mick LaSalle
    Moon is boring. Agonizingly, deadeningly, coma-inducingly, they-could-bury-you-alive-accidentally boring.
    • 41 Metascore
    • 25 Mick LaSalle
    What a waste of a great comedian. What demented casting.
    • 79 Metascore
    • 25 Mick LaSalle
    Only Lovers Left Alive is simply dead, an exercise in style, bland humor and vague gesture that yet seems to have been made in the naive expectation of a conventional response - that is, of an audience's actually caring.
    • 35 Metascore
    • 25 Mick LaSalle
    If For Greater Glory were a person, it would be wearing two different socks. It is a scattered mess, as earnest as a folk song, but like a folk song that goes on for two hours and 23 minutes. Not only does it never justify its epic length, it gets even the small things wrong.
    • 56 Metascore
    • 25 Mick LaSalle
    Bezucha made something perverse, a feel-bad holiday film about a repellent family, with a milquetoast dad and a smug, devious harpy of a mom.
    • 70 Metascore
    • 25 Mick LaSalle
    An empty exercise.

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